Funda Arar - Armağansın - Chord

Key Gb major – Eb minor Chords Bbm, Abm, B, Db, Ebm, Gb, Eb Easy key C (capo 6)

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Capo 0

Ebm  Bbm  Db  B  Abm  Bbm  Abm  Bbm

Ebm
Tuttuğumda elini
Db              B
Yürekte can sesi var
Db      Eb   Abm
Gördüğümde yüzünü
Bbm      Abm     Gb
Ah içime sarasım var

Bbm            B
Ben senin aşkınla yandım
Abm        Db
Dur gözlerine daldım
Gb        B
Bir yarınıma ortak
Gb     Abm    Bbm
Muradı sende aldım


Ebm 
Öyle bir sevmişim gel de tarif et
Db             Bbm
Sen bana armağansın
B                Ebm       B
Yüzümden süzülse inan bir damla
Gb       Abm     Bbm
Gönlümde çağlayansın

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Funda Arar - Armağansın Tabs

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Harmony analysis

Funda Arar – Armağansın: key and chord analysis

The song opens on Ebm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because it opens on Ebm. That is an interpretation, not a rule — the same chords are just as valid seen from Gb major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Gb or to Ebm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	4×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	7×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	8×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	6×
V	Db	Dominant — strongest pull home	Db · F · Ab	5×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	4×
V/ii	Eb	Secondary dominant V/ii — leads to Abmsecondary dominant	Eb · G · Bb	1×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	4×
V/iv	Eb	Secondary dominant V/iv — leads to Abmsecondary dominant	Eb · G · Bb	1×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	4×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	7×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	8×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	6×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	5×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 35 times in total; 6 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

B Gb GbIV → Iplagal cadence EbmVI → III ×2
Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
Db Gb GbV → Iauthentic cadence EbmVII → III ×1
B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
Abm Db Gbii → Vii → V Ebmiv → VII ×1
B Ebm GbIV → vi EbmVI → iVI → i ×1

The move to watch is B → Gb, heard 2 times. From the Ebm side it is VI → III; from the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

Starting on Ebm, the song gives away its key from the very first bar. The backbone is Bbm, Abm, B, Db — iii–ii–IV–V from the Gb side, v–iv–VI–VII from the Ebm side. Eb adds a moment of surprise: secondary dominant V/ii — leads to Abm. Keep an ear on B → Gb (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. Ending on Bbm, the song seals Gb as home.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.